Locarno Film Festival’s StepIN research center on the state of independent filmmaking is set to set the pulse of the theatrical scene, the flow of production, how film festivals and markets are going, and where things stand in relation to gender equality and social impact.
After taking a break last year from focusing strictly on business to focusing primarily on mental health and envisioning a more humane work environment, The unique Swiss festivals initiative returns to Delve into the industry’s most pressing operational issues and what lies ahead.
“Now that the worst moments of the global pandemic are behind us – and the Cannes Film Festival is in full swing – the film industry is wondering about its future,” said Marcello Paolillo, Project Director of StepIN, an Italian producer.
As Paolillo puts it in his introduction, StepIN’s overarching core theme is “Putting the pieces together in a post-pandemic puzzle.”
Now in its tenth year, StepIN is a multidisciplinary and international think-tank where around fifty European and international players in the industry – distributors, exhibitors, producers, sales agents, film institutions, financiers, broadcast platforms, broadcasters, film festivals and market representatives – have been invited to participate in closed-door sessions to exchange ideas on practices business models and propose new ideas and strategies.
The August 4th event will begin with an “Out of the Box” introduction. by a marketing expert Guido Lara, president of Lexia Insights and Solutions, an agency that works with the likes of Netflix, Discovery and Disney, on consumer trends within the film industry and beyond.
The opening keynote speakers are Elisa Fedoroff, head of theater distribution for Neon, which recently took over the Cannes Palm d’Or winner for Ruben Östlund’s “Triangle of Sadness”; Veteran acquisitions and production Sejin Croninger, Executive Vice President, Global Acquisitions, Paramount Pictures; and Daniel Turcoff Wilson, founder and CEO of Think-Film Impact Production, a Brussels-based organization working on the cusp of film production and social change that has sponsored and campaigned for award-winning titles such as “The Cave” by Firas Fayyad and Todd Haynesdark waters.”
Key talks, which help shape the subsequent StepIN discussions, will be followed by closed round tables and a closing session.
Talking to diverse Before the event Fedrov, who was instrumental in Neon, which has grossed more than $180 million over the past five years at the US box office with premium art films such as multiple Academy Award-winning Bong Joon Ho’s “Parasite,” underscores the lasting value of Theatrical in the life cycle of the film despite the broadcast boom.
“Even if the movie wasn’t incredibly successful during its theatrical run,” she said, “I really think the play qualifies him for a successful high school life.”
Fedrov also referred to The positive interaction between the play and the flow that results in the neon of A multi-year production deal with Hulu.
“Hulu is a great partner in really understanding the benefits of theater. He. She [theatrical] It just makes it more perfect for them, once they get it on their platform,” she said.
Croninger, who leads Paramount’s global acquisition group, including the Paramount Players brand and also Paramount + streamer, noted that the United States has historically Studios were “a bit limited in terms of the tape or needle you want to thread.”
“It was always very tight and precise,” she said.
“The rate of change these days for studio and signage — and anyone working in content and distribution — is much faster,” Croninger noted.
“The days of planning are really gone — long-range planning — which is historically based on expectations,” Kroninger explained, adding, “I think the rate of change and this concept of how consumer habits change, that’s something that no one can predict — if they are honest.” ”
One trend that has become evident in the “post-pandemic” world, Wilson says, is that “Millennials and Generation Z have a spending power of more than $360 billion in disposable income and make up the largest audience for video-on-demand content.” The Think-Film president added that they also have a desire for “authenticity and responsible filmmaking.”
Wilson also noted “impact value in diversity,” citing the fact that, according to her count, “eight of the ten best films released theatrically in 2021 featured actors representing a 30% minority.”
It is expected to include attendance at StepIN Carlo Ducey, Head of the London Office Endor Production Company MUBI Director of Marketing Irene Musumesi, President of the Urimage Fund Susan Newman-Boudis. Director of the Rotterdam Film Festival Vanja Kallodjersek, Chief Oscilloscope Dan Berger; Jeong Kim, President of AK Entertainment in South Korea; and Alexis Hoffmann, Head of Acquisitions at the French Baccalaureate Movies.
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